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MICHAEL SAMIS, celloGateway Chamber OrchestraGregory Wolynec, conductor

Eric Willie, marimba

REINECKE: Cello Concerto

and works by SCHUMANN • BLOCH

TAVENER • GOLIJOV

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© 2014 Delos Productions, Inc.,P.O. Box 343, Sonoma, CA 95476-9998

(800) 364-0645 • (707) 996-3844contactus@delosmusic.com

www.delosmusic.com

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Carl Reinecke: Concerto for cello and orchestra in D minor, Op. 82Allegro moderato • Andante con moto • Allegro vivace

Sir John TavenerThrenos, for cello solo

Robert Schumann: Adagio and Allegro for cello and orchestra, Op. 70 (orch. by Ernest Ansermet)Adagio • Allegro

Ernest Bloch: Suite No. 1 for cello soloPrelude • Allegro • Canzona • Allegro

Osvaldo GolijovMariel, for cello and marimba

Total Playing Time: 66:35

REINECKE: Cello ConcertoD

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MICHAEL SAMIS

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REINECKE: CELLO CONCERTO and works by Schumann, Bloch, Tavener, Golijov

Carl Reinecke: Concerto for cello and orchestra in D minor, Op. 82 (27:17)1. Allegro moderato (14:24)2. Andante con moto (7:05)3. Allegro vivace (5:45)

Sir John Tavener4. Threnos, for cello solo (7:44)

Robert Schumann: Adagio and Allegro for cello and orchestra, Op. 70 (9:23) (orch. by Ernest Ansermet)

5. Adagio (4:34)6. Allegro (4:49)

Ernest Bloch: Suite No. 1 for cello solo (10:49)7. Prelude (2:34)8. Allegro (2:30)9. Canzona (2:55)10. Allegro (2:50)

Osvaldo Golijov11. Mariel, for cello and marimba (10:58)

Total Playing Time: 66:35 Michael Samis, cello Eric Willie, marimba (tr. 11) James Button, oboe (tr. 5 & 6) Gateway Chamber OrchestraGregory Wolynec, conductor

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Sometimes, great music is overlooked. The forgotten cello concerto by the gifted and prolific composer Carl

Reinecke is a lost gem that richly deserves a place in the repertoire. With no record-ing currently available, few people have ever heard it. I hope to change that by making it the centerpiece of this, my debut solo album. Reinecke wrote music in the tradition of his early Romantic-era teach-ers, Mendelssohn and Schumann. I love to play music of this period, because of its singing melodies, profound expression, and power to communicate emotionally.

About a year ago, I discovered this ne-glected masterpiece, written in 1864. Af-ter playing the opening theme, I decided that I had to learn this piece. Its soaring melodies and brilliant virtuosity remind me of Mendelssohn’s violin concerto – my favorite childhood work. Reinecke’s music was overlooked because it was con-sidered “out of fashion” in its day. Today I find it compelling and full of emotion – and I trust that modern listeners will

agree, as it speaks to the human condi-tion and emotions that are common to us all, and bind us together across the ages.

This album’s remaining works are also built around connections to the past, looking back to earlier music and cher-ished people for their inspiration. Schumann’s lyricism was clearly a part of Reinecke’s musical voice. This is the first-ever recording of Schumann’s charming Adagio and Allegro, in a setting for cello and orchestra by the legendary conductor, Ernest Ansermet. Twenti-eth-century composer Ernest Bloch, during the final years of his life, harked back to the unaccompanied cello suites of J.S. Bach, after which he modeled three suites of his own. The first of them is of-fered here: I am moved by the power of its dark and somber language. For music of a more personal nature, I’ve turned to two of my favorite living composers. Both Osvaldo Golijov’s Mariel, for cello and marimba, and John Tavener’s Threnos, for solo cello, were written following the

With love and gratitude, I would like to dedicate this recording to my devoted parents, Sylvia and Charles Samis. This perfor-mance of Golijov’s Mariel is further dedicated to the memory of my departed friend, Patrick Coleman Saunders.

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deaths of their close friends, and reflect on their lives and memories.

I am delighted and deeply honored to share this wonderful music – both old and new – with you. May it open fresh musical doors to you, and give you the same kinds of pleasure that I have en-joyed in performing it.

— Michael Samis

Carl Heinrich Reinecke (1795-1883) is one of those Romantic era composers whose name should ring familiar with classical music fans, as does Schumann, Brahms, Tchaikovsky, and so many oth-ers – yet that is not the case. He was rele-gated to the music history books, along-side many other worthwhile composers whose works were suddenly deemed to be “out of fashion,” and simply fell by the wayside – despite the fact that he was a man of incredible talent and creativity. A prodigy, virtuoso performer, conduc-tor and composer – all filled the bill for what should have been a name ranking high in our memories, concert halls, and performing repertoire.

His pedigree attests to this: He was born in Altona (a district of Hamburg, Germa-

ny), the son of a respected music teach-er and author. Young Carl gave his first public piano performances at age 12, did early touring in Northern Europe, and performed for (and was befriended by) Mendelssohn, Liszt and the Schumanns. He taught Liszt’s daughter Cosima (later the wife of Richard Wagner), became Di-rector of Music at the University of Bre-slau, was a faculty member at the Leipzig Conservatory, and even conducted the premier of Brahms’ Deutsches Requiem with the Gewandhaus Orchestra. His stu-dents in Leipzig included Grieg, Weing-artner (of Schwanda the Bagpiper fame), Sullivan, Janacek, Albeniz, and Bruch. One of his personal missions there was to reintroduce works by the then “forgot-ten” composers Palestrina and Bach.

His compositions, the majority of which were written after he had retired from teaching and performing, include almost 300 known works. The only one still reg-ularly performed is his Sonata for Flute and Piano “the Undine.” Other works, besides many other chamber pieces, in-clude solo instrumental music; concer-tos for harp, violin, cello, and four for piano; three known symphonies (also a

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“Children’s Symphony”) and symphonic overtures; operas and comic operettas; plus numerous songs and choral works. He composed well-known cadenzas for piano concertos by Bach, Mozart, and Beethoven. And at age 80, he became the oldest living pianist to make Welte-Mi-gnon piano roll recordings.

The Op. 82 Cello Concerto in D Minor – heard here in its first-ever commer-cial recording – was completed in 1864 and dedicated to the virtuoso cellist and pedagogue Friedrich Grützmacher. In the Allegro moderato, the cello delivers the pensive initial theme in the opening bars, over a gently thrumming orchestral foundation that soon builds in both vol-ume and dramatic intensity. A somewhat softer variant of the theme then emerg-es – again from the soloist – followed by a series of developmental passages that give the soloist many chances to shine, both technically and expressively. The basic themes are recapitulated about halfway through, leading after further elaboration to a cadenza that’s remark-able for its lyrical beauty, inventiveness and virtuosity (remember, Reinecke was a “cadenza specialist”), before the orches-

tra returns to propel the movement to its emphatic conclusion.

The central Andante con moto, right from the start, breathes an air of gentle reflec-tion and melancholic yearning, led by the solo cello. Despite moments of restrained buildup, the prevailing mood – even with a few major-key shifts – persists for the most part, until the music fades into si-lence on a series of ever-softer rising arpeggios. The final Allegro vivace be-gins with a series of fateful, minor-hued chords before – almost surprisingly – the cello presents a jaunty, major-key theme of near-Mendelssohnian gaiety and verve. Again, the solo cello gets a good technical workout in its varied dialogue with the orchestra, as the work barrels to its happy and life-affirming finish.

Sir John Kenneth Tavener (1944 – 2013), a native of London, attended the Royal Academy of Music, studying with the distinguished Lennox Berkeley. He seems to have migrated from church to church, absorbing and rejecting religious dogma along the way – evolving from serving as organist in a Presbyterian Church through Roman Catholicism, be-

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fore finally settling into Russian Ortho-doxy in 1977. His music began to attract increasing worldwide attention after his Song for Athene was performed at Prin-cess Diana’s funeral.

The composer: “Some say they find truth and beauty in my music, and I accept that. I hazard a guess: maybe they are attracted by the “Tradition” which I have used. A Tradition with a capital ‘T,’ which embrac-es Saint Sophia in Constantinople as well as Chartres … of which the West seems to have lost all sense ... We are now at the end of a cycle, in a time where anything goes, artistically speaking. Maybe that’s what I try to work on. Tradition. Perhaps that is the chord I strike in people’s hearts. I use the tone systems of the Byzantine era; I use sacred geometry. If I write a piece about, say, the Holy Spirit, the notes wouldn’t come out of nowhere. I am only a vessel through which God speaks.

“Threnos was composed for Steven Isserl-is, who gave the first performance on Au-gust 24, 1991 … at that year’s Edinburgh Festival. The title Threnos [threnody] has both liturgical and folk significance in Greece – the Threnos of the Mother

of God sung at the Epitaphios on Good Friday and the Threnos of mourning that is chanted over the dead body in the house of a close friend. I wrote my short Threnos for solo cello in memory of my dear friend Dr. Costas Marangopoulos.”

Accordingly, this unspeakably sad piece personifies the Holy Mother’s grief (and ours) at Christ’s entombment, unfolding with an aura of intense personal mourn-ing as well as the feel of sacred ritual. The relentlessly slow and desolate melodic flow is periodically embellished by brief double-stop passages, mostly in thirds. While the bulk of the piece lies within the cello’s middle register, a brief evocation of instrumental “keening” emerges with a shift to the upper reaches of its range. A sudden drop into its bottom end con-cludes the piece with a particularly strong sense of devastation, with the final down-ward progression seeming to sink into a bottomless abyss of gloom and despair. It is no secret what an odd one Robert Schumann (1810 - 1856) could be. After moving into his piano teacher’s home, he almost immediately fell in love with the teacher’s daughter, Clara: reportedly

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a better pianist than he was. And then there was his ill-fated effort to correct a “design flaw” in human hands (certain ligaments for two fingers are shared) by the use of a device called the chiroplast – but all it did was to damage his hands, dashing his hopes for a performing ca-reer. He thus began to concentrate on composing, often for piano alone – and even more often with opposing themes, since he believed he housed two distinct personalities. Finally, there was his fate-ful, late-in-life mental illness (ostensibly caused by syphilis) that led to his suicide attempt and confinement in the asylum where he died.

It was indeed after meeting Clara that he began to branch out and compose for other instrumental genres. Many of these works can actually sound as if they were written for the piano, but with other in-struments possibly in mind. His opus 70 Adagio and Allegro was originally com-posed for horn and piano. But Robert knew that if it were also available for other instrument combinations, it could bring in more income – so he dutifully arranged it for piano with cello or viola. The 1849 work was edited for publication by Clara,

and came out the same year as his Kon-zertstück for Four Horns and Orchestra, Introduction and Allegro Appassionato for Piano and Orchestra, Three Romances for oboe and piano, and the Five Stücke im Volkston for piano and cello.

Swiss conductor Ernest Ansermet was quite a champion of Schumann’s compo-sitions; witness his long list of DECCA re-cordings from the 1950s and 60s. Besides his orchestral transcriptions of Schumann’s piano works – including the massive Car-naval – he orchestrated the piano part for the Adagio and Allegro in 1943.

Schumann’s “dual personalities” are re-flected in the two movements of this charming piece, thanks to the pro-nounced “mood swing” between them. The lovely Adagio unfolds like an atmo-spheric nocturne, breathing an air of serene contentment from start to finish – with a brief central episode that ap-proaches ecstasy. Tender exchanges with sweet-sounding woodwinds (especially the oboe) abound, as the cello “sings” its way through music that’s sure to bring a dreamy smile to your face. The ensu-ing Allegro bursts straight into a lively

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romp, full of Schumann’s unique brand of cheerful abandon. Fleeting moments of near-tension and doubt – and a brief (and pensive) central slow section – fail to dampen the prevailing jolly mood for long. Listen for the “laughing cello,” as it repeatedly shrugs off all hints of doubt and hesitation to end the piece in the same high spirits with which it began. Swiss-born Ernest Bloch (1880 – 1959) began his musical training at age nine on the violin. Eugène Ysaÿe, his teacher at the Brussels Conservatory, helped him to gain enough confidence and virtuosic skill to begin traveling around Europe. From Germany through Paris to Gene-va, he then came to the US, becoming an American citizen in 1924. He was the first teacher of composition at the Mannes College in New York, was appointed as the first director of the Cleveland Insti-tute of Music, and finally moved to San Francisco to become director of that city’s Conservatory of Music.

Bloch’s compositions include the opera Macbeth (often called the best operatic adaption of all of Shakespeare’s plays); music for orchestra, chamber ensembles,

organ and piano; and works in the con-certo genre. Cellist Pablo Casals called Bloch “the best composer of our times.” Much of his heartfelt music is from 1912 – 1916, known as his “Jewish Period.” Works such as Schelomo are seemingly derived from the sounds of a Jewish Syn-agogue’s cantor. As he commented of his Jewish-themed works, “I do not propose or desire to attempt a reconstruction of the music of the Jews … it is rather the Hebrew spirit that interests me.”

The three suites for unaccompanied cello were composed near the end of his life, from 1955 – 1957; the first two were ded-icated to Canadian cellist Zara Nelsova (of whom he said, “Zara Nelsova is my music.”): she performed the first of them at her debut solo recital in New York. Having spent the mid-1920s revisiting the works of Bach and Palestrina, Bloch obviously used his love of that music as a basis for these three profound and often abstract suites. The Suite #1 for Solo Cel-lo (1956) is the best known and most ac-cessible of the three. In it, Bloch’s debt to Bach is tempered by his romantic streak as well as his modernistic impulses.

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The opening Prelude movement, though rather lyrical, is relentlessly solemn throughout. The piece is memorable for its recurring melodic fragments over a foundation of low “pedal points” – cre-ating, like Bach did, a sense of “implied counterpoint.” The lively, yet still-sober Allegro frames a slower central episode of high-end “keening” between power-fully manic outer sections. The following Canzona – the most songful of the lot – has the faint flavors of a Jewish lament, among other ancient voices. The most dancelike of the set, the intermittently brusque final Allegro swaggers its way – with a vaguely Celtic-sounding melodic line – through its energetic course.

The son of eastern-European immigrant parents (a physician father and pia-no-teaching mother), Osvaldo Golijov (b. 1960) is a native of La Plata, Argenti-na. As he described himself, “I am simply an extension of what I heard at home: the classics, the Russians, tango, Jewish mu-sic.” After moving to Israel in 1983, he then came to the United States three years later, earning his Ph. D. at the University of Pennsylvania, studying musical compo-sition with George Crumb. He was also a

Fellow at the Tanglewood Music Center. Within a few years, he had begun musi-cal relationships with American soprano Dawn Upshaw, and with two prominent string quartets: the Kronos and St. Law-rence. He won a MacArthur Fellowship, leading him to compose more and more works on commission, including a cello concerto for Yo-Yo Ma. He also collab-orated with cellist Matt Haimovitz, the Silk Road Ensemble, and the symphonies in Chicago, Atlanta, and Boston. Fur-ther kudos came with his appointment as Composer-in-Residence at Spoleto USA, the Mostly Mozart Festival, Ra-vinia, and in European musical capitals. With over 20 film scores to his credit, he even worked with Francis Ford Coppola, composing soundtrack music for 2007’s Youth Without Youth and 2009’s Tetro. As Chicago Tribune critic John von Rhe-in put it, Golijov is “The poster child for all that’s exciting and accessible in today’s new classical music.”

Premiered in New York’s Merkin Hall in 1999, Mariel – heard here in its arrange-ment for solo cello and marimba – was commissioned by Meet the Compos-er. Says Golijov: “I wrote this piece in

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memory of my friend Mariel Stubrin. I attempted to capture that short instant before grief, in which one learns of the sudden death of a friend who was full of life: a single moment frozen forever in one’s memory, and which reverberates through the piece, among the waves and echoes of the Brazilian music that Mariel loved. The work was written for and pre-miered by Maya Beiser and Steve Schick.”

The marimba – using its sole “sustain” mode of subtly repeated mallet-strokes – lays down a smoothly surreal (and some-what spooky) initial foundational “bed” of notes, in almost minimalist fashion. The cello presently joins in, with a som-ber threnody that seems to breathe a sad aura of unprocessed mourning. The ma-rimba seems – almost hesitantly – to join the ensuing melodic and harmonic dia-logue here and there, except for a central passage where the cello fades into soft “droning” mode as the marimba briefly takes over the melody. Otherwise, the cello bears the main thematic weight, de-livering tunes that the seasoned ear will recognize as distinctly Hispanic (specif-ically Brazilian) in nature – though, in most cases, much more slowly than we

are accustomed to hearing them. As the last notes fade into silence, the listener is left in an unsettled trance – with nowhere left to go, save for full-blown grieving as the final reality of loss sets in.

– Geoffrey S. Lapin (with musical commentary by Lindsay Koob)

Michael Samis, cello (bio by Holly Hickman)

Recognized for his “shining and ex-pressive” playing (The Tennessean), “confidence, conviction and precision” (ArtsNash), and “haunting” tone (The Cincinnati Post), Michael Samis is an ac-complished solo, chamber and orchestral cellist. In 2013, he gave what was likely the U.S. premiere of Carl Reinecke’s Ro-mantic-era Cello Concerto with the Gate-way Chamber Orchestra, which set the stage for this debut solo album.

Samis performed Dvořák’s Cello Concerto with the Cincinnati Symphony Orchestra at age 17. Other solo performances have included Haydn’s Cello Concerto in C Major with the Nashville Philharmonic Orchestra and Elgar’s Cello Concerto with

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the Bryan Symphony Orchestra. He has performed in numerous music festivals around the world, including the Pacif-ic Music Festival in Japan, where he sat Principal Cello under the baton of Mi-chael Tilson-Thomas.

A member of the Nashville Symphony since 1999, Samis is Co-Principal Cellist of the GRAMMY®-nominated Gateway Chamber Orchestra, with whom he has recorded on Summit Records (Cham-ber Symphonies, released in 2012). He frequently performs on National Public Radio affiliate WPLN’s Live in Studio C program, both as soloist and with cham-ber groups. He currently plays in studio recording sessions with the Nashville Opera Orchestra, and also performs im-provisatory cello with bands. In addition to this solo CD, he recently performed on Stopping By, a Delos CD recorded with tenor Kyle Bielfield and pianist Lachlan Glen. Samis was awarded a 2013 Tennes-see Arts Commission Individual Artist Fellowship in Music for Solo Instrumen-tal Performance.

Samis performed extensively as cellist with the Alexis Piano Trio from 1992- Michael Samis

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2001. He has given solo recitals at the Blair School of Music (Vanderbilt Uni-versity), Middle Tennessee State Univer-sity and the Taft Museum of Art Cham-ber Music Series in Cincinnati.

Other career highlights include perform-ing as Principal Cellist under Helmuth Rilling, at Carnegie Hall with the New York String Orchestra, and at the Sara-sota and Kent/Blossom chamber music festivals. He graduated from the Cleve-land Institute of Music in 1999 with the Ellis A. Feiman Award in Cello. In Cleveland, Samis studied with the Cleve-land Orchestra’s longtime Principal Cel-list, Stephen Geber. He has also studied with Desmond Hoebig, Jerry Grossman (Principal Cellist, Metropolitan Opera Orchestra) and Geraldine Sutyak.

Michael Samis has served as Adjunct Pro-fessor of Cello at Middle Tennessee State University. A strong supporter of music education and advocacy, he designed an educational program for string quartet, which he and his colleagues presented in schools as part of the Nashville Sympho-ny’s “Ensembles in the Schools” initiative. He believes in the healing power of music

and volunteers by playing cello in group psychotherapy settings, helping people who struggle with mental illness and ad-diction. He plays an Italian cello made in Naples circa 1850.

www.michaelsamis.com Gregory Wolynec is an emerging Amer-ican conductor whose performances have been lauded as “world class,” “deep-ly felt,” and “big, bold, American.” He is the music director and conductor of the Gateway Chamber Orchestra, which presents inspired programs to diverse audiences in the Tennessee communities of Nashville and Clarksville. Orchestral musicians have praised his expressivity, clear technique and polite persistence. His repertoire ranges from the Viennese classicists to the Expressionists to leading American composers. Such composers as Libby Larsen, Lee Hoiby, Anthony Plog and Jeffrey Wood have praised his interpretations of their works. Passionate about the development of new audiences for classical music, he has spearheaded an innovative educational outreach pro-gram and the creation of a multi-media children’s series.

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Wolynec was trained at the Crane School of Music and Michigan State University. He was a recipient of a Fulbright grant to Prague, which fostered a deep con-nection with Czech music. He currently serves as the Professor of Conducting at Austin Peay State University in Clarks-ville, Tenn., where he directs the Sym-phony Orchestra, Wind Ensemble and Opera Theatre productions.

The Gateway Chamber Orchestra is based in the Middle Tennessee region and brings together area symphony mu-sicians, studio performers and college faculty. The GCO’s unique programming philosophy balances established master-works with overlooked treasures along-side works of today’s leading American composers. The GCO’s ‘Wind Serenades’ and ‘Chamber Symphonies’ recordings have been praised in American Record Guide, Fanfare, The Instrumentalists and numerous websites. Deeply committed to educational outreach, the ensemble has presented innovative programs for thousands of public school students and welcomed thousands more to multi-me-dia children’s programs.

www.gatewaychamberorchestra.com

Percussionist Eric Willie pursues a multi-faceted career as a performer and teacher. He has performed in Carnegie Hall, on several broadcasts of Live in Studio C (on Nashville’s NPR station), and as a perform-er and clinician at several Percussive Arts Society International Conventions.

Gregory Wolynec

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An advocate for promoting new music, he has premiered works from Christo-pher Adler, Greg Danner, Christopher Deane, Paul Lansky, Marc Mellits, John Psathas, Blake Tyson, Alejandro Vinao, Matt Walker, and James Wood.

As a chamber musician, he regularly per-forms with the Nief-Norf Project and the Eclectic Chamber Players. He has also

performed as a chamber musician at sev-eral Eastern Trombone Workshops, the World Saxophone Congress, the Florida Electroacoustic Music Festival, and the Music for All National Percussion Festival.

Eric holds a Doctor of Musical Arts de-gree from the University of North Texas, a Master of Music degree from the Univer-sity of Kentucky, and a BS in Music Edu-cation from Austin Peay State University.

www.ericwilliepercussion.com

Acknowledgments Michael would like to thank the fol-lowing individuals for their extra time and efforts in making this project come to life: Kira Bielfield Williams, Carol Rosenberger, Lindsay Koob, Geoffrey S. Lapin, D. Wilson Ochoa, Gregory Woly-nec, James Neville Vickers, Brian Schafer, Jeff Rymer, Charles and Sylvia Samis, and Christopher Stenstrom.A special thanks to pianists Megan Gale and Leah Bowes for their many rehears-al hours with Michael on the Reinecke concerto; and to James Levee and the “Unsung Composers” online forum for leading him to its discovery.The artist offers further heartfelt thanks

Eric Willie

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to all of those from around the world who backed this album during the 2013 Kick-starter campaign. There are too many to name here, but the list below recognizes individuals for their particularly gener-ous support:

Signature Sponsors: Charles & Sylvia Samis, The Tennessee Arts Commission (2013 Individual Artist Fellowship)Sponsors: Mary Judith Gaetano, Rabbi Mark & Dr. Meryl Goldman, Karen E. KylloPartners: Dorothy Bauer, Karmen Kyl-lo, Gordon P. Publow, Jr., David & Carol Rice, ChristopherStenstrom, Ralph & Kathryn StenstromBackers: Patricia Bryan, The Carroll Family, Thom Donovan, Holly Hickman (Up Tempo Marketing), Amy Eller and Mallie McCloud, Alexander and Dorothy McLeod, Carrie Plummer, Eric & Rebec-ca WillieRecording venue: Mabry Concert Hall at

Austin Peay State University; Clarksville, TNDates recorded: June 17 and 18, 2013Producer: D. Wilson OchoaExecutive Producer: Carol RosenbergerEngineers: John Hill & Kevin EdlinAssistant Engineer: Grant GreeneMastering: Matthew SnyderPhoto credits: Dean Dixon, Eric Willie’s photo by Warren LaFever, Greg Woly-nec’s photo by Mingzhe Wang

© 2014 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998(707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645

contactus@delosmusic.com www.delosmusic.com

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